2021-2022 Guild Programs

Past Programs, Programs

The Programs Committee is happy to announce our 2021-2022 programs. At this time, all guild meetings will be conducted via Zoom until it is safe to meet in person again. Meetings are on 3rd Thursdays of each month, beginning at 7PM. Zoom links are available in the Member’s Calendar.

  • September 16, 2021 – Ginger Summit: Felting
  • October 21, 2021 – Deborah Corsini: Wedge Weave
  • November 18, 2021 – Catharine Ellis: The Intersection of Weaving and Dyeing
  • December 16, 2021 – Holiday Party (in person if safe, Zoom social if not)
  • January 20, 2022 – Mayumi Fujio: Mushroom Dye
  • February 17, 2022 – Andean Textile Council Board Member: Textile Traditions of the Andes
  • March 17, 2022 – Miriam Omura: Warp Painting
  • April 21, 2022 – Marilyn Romatka: Uzbek Ikat
  • May 26, 2022 – CNCH 2022 Shared Experiences (note changed date due to CNCH 2022; in person if safe, Zoom social if not)
  • June 16, 2022 – Elections, Guild Sale / Social (in person if safe, Zoom social if not)

September 16 – Ginger Summit

Past Programs
Ginger Summit landscape in felt. A bubbling stream with trees showing autumn foliage of reds and oranges.
“Walk by A Mountain Stream”. Ginger Summit. HGA: Small Expressions 2021

Ginger Summit has been a creator for all of her life, from weaving, creating spirit figures and musical instruments out of gourds (author of over 7 books on gourds), and creating community (Los Altos City Council and Mayor). Her latest venture is creating art with felt.

Ginger will share with us her journey through felt, how she developed her own process for
working with both wet and dry felt, and some of her favorite pieces, from self healing to commercial pieces. One of her recent pieces, “Walk by A Mountain Stream” was accepted into Handweavers Guild of America (HGA) Small Expressions 2021, an annual juried exhibit featuring contemporary small-scale works. The exhibit showcases works created using fiber techniques in any media, not to exceed 15 inches (38 cm) in any direction, including mounting, framing, or display devices.

Show and Tell, August 2021

Show and Tell

Charlotte C: Turned Crackle Placemats

The warp for the Turned Crackle placemats that I wove is cotton chenille that is 1425 YPP.  It was sett at 16 EPI.  Weft is 8/2 cotton in navy.  4 colors in the warp.  4 blocks.  Each of the 4 blocks in the warp uses 4 colors – red, green, blue and tan.  Color sequence is different in each block.

Block A – green, blue, tan, red.

Block B – blue, tan, red, green.

Block C – tan, red, green, blue.

Block D – red, green, blue, tan.

After getting the color sequences in the warp all threaded, the weaving is a breeze with one color (one shuttle, instead of 4 in regular crackle).

Lots of shrinkage – 20%.

 

Gudrun: Double-faced Card Weaving

I had been weaving dogs and cats recently hoping for rain. The rain came – unfortunately in massive amounts and not in the desired places.
The technique is double-faced card weaving, the yarn is 10/2 pearl cotton.
Several patterns  were derived from Andean knitting patterns.

Show and Tell, July 2021

Show and Tell

Barbara O:

I have been playing around with some natural dyeing. First some white wool yarn.

From Right to left:  madder, madder overdid with marigold, marigold, marigold over dyed with madder, weld, weld with iron, walnut, walnut with iron, logwood, logwood with iron.

I love the effect of adding iron to the dyes.

An eco printed smock following India Flint’s methodology.  It turned out beautifully, IMHO.

 

 

Gloria:

A chenille scarf in shades of teal and turquoise with supplementary warp of nylon ribbon.

 

Cookie:

Pin loom coverlet.

 

 

Show and Tell, June 2021

Show and Tell

Archana:

Sugar and Spice, shawl woven with Alpaca Silk/ Cashmere, Bird Eye Twill on a 4 harness Dorset

 

10/2 cotton, 24 epi towels for the Towel Exchange. Monks belt design on 4 shafts of a 22” Gilmore Gem II 8 shaft loom. Enjoyed weaving the set of towels for my first guild towel exchange. Looking forward to participating in other guild projects!

 

Teddie:

8 - shaft scarves

8 – Shaft Scarves

 

Study Group Towels

 

Supplemental Warp

 

Twill Towels

 

Barbara:

Urns for COVID to honor those who have died from COVID-19

 

Gail:

Kelp Forest, overshot scarf–variant of wandering vine

Currently on the loom, crackle weave

 

Gudrun:

Canvas weave scarves with 20/2 silk, inspired by Pistache Tree berries

 

Leela:

 

Tapestry for Social Justice

Rigid Heddle Scarf

 

Ulla:

Knitted Gossamer Lace, knit with handspun white cashmere, approximately 5′ long

 

 

 

 

 

 

 

Show and Tell, May 2021

Show and Tell

Linda H: 

I’ve been having fun lately weaving fabric as a base for embroidery.  In this case I wove  60/2 silk in 6 shaft false damask with gulls as a background for a beach themed embroidery of my granddaughter’s initials.  Said granddaughter isn’t 2 yet, so I don’t know that she has an opinion on it, but her parents like it.
Embroidery notes (if anyone is interested):
Most handwoven fabric benefits from being backed with muslin, to stabilize the stitches.
Transfering a pattern to handwoven fabric can be virtually impossible if there is any intricacy to the design.  I found tracing the pattern onto a clear soluble stabilizer such as Solvy, then basting it to the fabric and hooping carefully works better than trying to apply it directly to the fabric.
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John H:
I finally finished weaving linen curtains after many false starts with beaming the 50″ wide linen warp and tying up my countermarch loom. The curtains are woven from unbleached 40/2 Normandy linen at 20epi and ~18ppi in a huck lace pattern of my own devising. They were inspired by Ulla’s 50/2 linen curtains. They are held up by temporary loops of ribbon from Michael’s. I am weaving a 9 yd ribbon of the same 40/2 linen in plain weave at 24epi/ppi for the permanent loops.
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I took Barbara Shapiro’s twisted paper box weaving class at the beginning of April. I used ¼” paper splints while most students used thinner, colored paper. My box is on the chunky side because of the thickness of the paper splints, but I like it.
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Gudrun: Card Woven Hat Band
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April 15 – Barbara Shapiro

Past Programs

Art in the Time of COVID

Woven Vessel with Lid Black Sheep member Barbara Shapiro will share the productive burst of artistic output inspired by moving her studio in January 2020 and by current personal and political events. The sequestration that Covid forced upon us all brought forth lots of new work in several series. Unfinished and abandoned projects from years ago were seen with new eyes and finally finished. Newly discovered materials inspired different ways of working. And as always, Indigo colored her materials. Barbara hopes to inspire you to look at your own work in new ways as you enjoy this saga of 20-21 in her studio in the time of Covid.

"Worn with Dignity" - Horn bag with patches

Show and Tell, April 2021

Show and Tell

Ange: 

I made this band in the recent  Andean Pebble Weave workshop taught by Laverne Waddington; it’s 3/2 cotton in whatever colors I had in stash.

 

 

Betsy B:

My 18-year placemats! They were on my loom for 18 years (long story) and were designed to go with the dishes pictured here. They are now off the loom!

May 20 – Jennifer Moore

Past Programs

Mathemagical Design – Geometry in Textiles

Mathemagical Design Logo - Rainbow and Black woven designSince ancient times, human beings have observed the world around them and found recurring patterns in nature. The Golden Proportion, the Fibonacci Series, symmetry movements, tessellations and fractals are some of the mathematical ideas that have found their way into art and architecture for thousands of years. In this slide show we will see examples of how these ideas have been used throughout history, various cultures, and particularly in contemporary fiber art.

From the first time that Jennifer sat down at a loom, she was drawn to the orderly universe of colored threads and the rhythmic repetition in the process of weaving. Because of her background in piano and pipe organ, she felt an immediate affinity with this new stringed instrument whose patterns flowed from her hands in the form of color and design rather than sound.

Jennifer has developed new methods of setting up and weaving doubleweave and made it accessible and understandable for all weavers. Her techniques and systems for working in doubleweave can also be found in my book The Weaver’s Studio: Doubleweave and in her online courses.